Kb c^5 



Price, 25 cents 




PUBLISHED BY 

The. Dramatic Publishing Compant 

CHARLES H SERGEL , PRESIDENT 



i 



Practical Instructions for 
Private Theatricals 

By W*. D. EMERSON 
Author of "A Country Romance," "The Unknown Rival," 
"Humble Pie," etc. 



Price, 25 cents 



Here is a practical hand-book, describing in detail all the 
accessories, properties, scenes and apparatus necessary for an 
amateur production. In addition to the descriptions in words, 
everything is clearly shown in the numerous pictures, more 
than one hundred being inserted in the book. No such useful 
book has ever been offered to the amateur players of an* 
country. 

CONTENTS 

Chapter I. Introductory Remarks. 

Chapter II. Stage, How to Make, etc. In drawing-rooma 
or parlors, with sliding or hinged doors. In a single large 
room. The Curtain; how to attach it, and raise it, etc. 

Chapter III. Arrangement of Scenery. How to hang it. 
Drapery, tormentors, wings, borders, drops. 

Chapter IV. Box Scenes. Center door pieces, plain wings, 
door wings, return pieces, etc. 

Chapter V. How to Light the Stage. Oil, gas and electric 
light. Footlights, Sidelights, Reflectors. How to darken the 
stage, etc. 

Chapter VI. Stage Effects. Wind, Rain, Thunder, Break- 
ing Glass, Falling Buildings, Snow, Water, Waves, Cascades, 
Passing Trains, Lightning, Chimes, Sound of Horses' Hoofs, 
Shots. 

Chapter VII. Scene Painting. 

Chapter VIII. A Word to the Property Man. 

Chapter IX. To the Stage Manager. 

Chapter X. The Business Manager. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO, ILLINOIS 



SUITE B 



SKETCH IN 
ONE SCENE 



J By 

FANNIE MYERS LANGLOIS 



CHICAGO 
THE DRAMATIC PUBLISHING COMPANY 



~f£ 



fa 



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CHABACTERS. 



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V- 



V* 



Elmer Thaxton. Baritone of the Grand Opera Co. 

Lucille Thaxton. A society amateur. 

Jimpsy. A bellboy. 

Buster. A hotel porter. 

Scene. A handsomely furnished hotel sitting room. 

Time. The present. 




SUITE B 

Properties. Gent's tall chiffonier, military brushes, per- 
fume bottles, whisk broom, trunk, toilet case, two tall 
screens, bath towel, writing desk, sofa and pillows. 

Both professional and amateur actors are warned not to 
perform this play until they have the written permission 
of the publishers. The royalty fee is three dollars for each 
performance, payable in advance. 



Copyright, 1911, by The Dramatic Publishing Company. 



©CI.D 28131 TMP96-006564 



SUITE B 

Scexe: Elmer's apartments in the Annex. Door R. c. to 
bath, Door c. to corridor, d. 3 E. l. to Lucille's dressing 
room, d. 2 E. R. to Elmer's bedroom. Lively music at 
opening. Buster knocks, then opens c d. and enters, carry- 
ing a large trunk. Goes to d. r. and finds it locked. Looks 
around, sees b.l., opens and exit with trunk. Loud bump 
heard, as if he had dropped trunk. Lucille enters on sound 
of this bump, c. D. Is dressed in traveling dress, with 
satchel and umbrella. 

Lucille. I thought I heard something drop. [She 
glances around.] Well — this isn't half bad for a sitting 
room, and I'm lucky to get it. I suppose this is the dressing 
room. [Tries d. r.] No, locked! [Listens.] There's 
a man in there — asleep — I can hear him snoring, but, of 
course, he hasn't the key to this door. [Sees D. l.] Ah, 
there it is. [Buster re-enters without trunk.] Oh, you 
have brought my trunk up. [Places satchel and umbrella 
on desk c. Opens pocketbook, gives Buster coin.] Here. 

Buster. Thankee, mum. [Exit c. d. Note — Give him 
his tip each performance and he will say it.] 

Lucille. [Calls.] Lizette! Lizette! [Going up, looks 
off D. l.] Not here? She should have arrived half an hour 
ago. Good gracious! What if she has missed the train? 
[Looks at watch.] Five o'clock, and I dine with Mrs. 
Naylor at 7. The best thing I can do is to begin 
dressing and offer up a prayer for the speedy arrival of 
Lizette. [Takes up satchel and umbrella. Exit d. l., clos- 
ing door after her.] 



4 SUITE B 

[Bellboy's knock, two sharp raps heard. JiMpsY enters 
c. d. with towels. Hangs them on screen b. Opens d. r. c. 
Sound heard of water running into bath tub. Then he goes 
to d. R., knocks several times. Rattles knob of door.] 

Elmer. [Off d. r., sleepily.'] Hello ! what the devil do 
you want? [Yawn heard.] Ow — wow — wow — wow. 

Jimpsy. Five o'clock. Bath's ready, sir. 

Elmer. [Off.] Did I tell you to wake me at five? 

Jimpsy. Said you'd gimme a jolt in de slats dat would 
knock me plaster off, if I didn't. 

Elmer. [Off.] I must have been peachy, all right. I'll 
get up. [Yawn heard.] 

Jimpsy. Do youse want a cocktail ? 

Elmer. No, I'll wait till I get down-stairs, [d. r. un- 
locked. Money thrown.] 

Jimpsy. [Catching coin.] T'anks! [Goes up behind 
screen b. Sound of running water stops.] Dat feller's a 
prince. [Exit c. D.] 

[Elmer enters d. r, in pajamas and slippers. Trousers, 
with suspenders dragging, over his arm. Has shoes in hand 
and drops them in front of chiffonier R. As he enters,, 
yawns, then speaks.] 

Elmer. Oh, but I must have been good last night ! 
[Looks in glass over chiffonier.] Yes, and I look the part 
today. [Unlocks chiffonier drawers with key attached to 
key ring hanging to trousers. Hangs trousers over screen 
b.] What an ass a fellow is to do that sort of thing! 
[Gets shirt, underwear, etc., from chiffonier while talking, 
puts buttons in shirt and hangs all over screen b.] There's 
nothing in it, except a headache and a bouquet of dark 
brown tastes in your mouth when you wake up. It certainly 
was a merry party. Let me see — it is a month — no, by 
George ! — it is six weeks since I had seen the boys. The 
only trouble was that they were too glad to see me. If 



SUITE B 5 

Mario's throat continues bad, I may have to take his place 
for several weeks, and if I do, I can s5e my finish with that 
bunch. Met me at the train, the villains, and dragged me 
away from the path of duty without even letting me notify 
the hotel that I had returned and would occupy my rooms. 
Lucky for me that Jimpsy was on watch and the rooms un- 
occupied. Jimpsy got me upstairs and put me to bed with- 
out even the night clerk seeing me. Well, for a fact, I 
wasn't fit to be seen. [Exit d. r. c, leaving it open. Sounds 
of splashing as in taking a cold bath.] Waugh — this water 
is freezing. Well, one plunge and it will be over. Only 
the brave deserve to be fair. Brrr ! But this is chilly ! 
[Splash.] Oh, mama! [Splash.] This water is cold 
enough to freeze brass whiskers off an iron monkey! 
[Splash.] Brrr! Talk about the Klondike. [Splash.] 
[Heard getting out of bath.] There — if my blood doesn't 
circulate after that I'd better see a doctor. [Takes towel 
from top of screen. Hand and end of towel appear above 
top of screen as if drying himself after bath. Talks while 
putting on garments taken from top of screen. Shirt sleeve 
moves above screen as if being put on, etc.] For a fellow 
who has been out all night having a time, there is no tonic 
like cold water. Of course, it's a good deal of a shock to 
the system, but that serves you right for coming home in 
a shocking condition. And I've got to sing Toreador to- 
night. [Tries voice.] Ah — ah — ah — ah. Oh, I'm in fine 
condition for it ! Confound those fellows — how did they 
know I was coming to sing on account of Mario's illness? 
Must have been announced in the papers, I suppose. [Comes 
from behind screen limping — fastening suspenders.] I 
wonder what's the matter with that foot? Must have 
hurt it last night somehow. [Finds button off pants.] 
Button gone, eh? Just my devilish luck. I'm always 



6 SUITS B 

moulting a button some place or other. [Gets safety-pin 
and fastens suspender with it.~\ 

That buttons your trousers will desert 

Does seem a shame and a sin, 
But laugh — ha, ha — for there's no hurt, 

You've a friend in the safety-pin. 

[Gets collar, cuffs, necktie, etc., from chiffonier drawer, 
puts them on while talking.] Confound that foot. [Limp- 
ing.] Somebody must have stepped on me. [Fastens 
bach button of collar. Front button is missing.] Now, 
where the deuce is that collar button? I know I put it 
in — I'm sure I did. [Searches behind screen, limping.] 
The devil seems to take a delight in hiding a man's collar 
button, so as to induce him to swear. Ouch! what in 
thunder is the matter with that foot ? [Sits on couch R. c. 
and takes off slipper. Finds collar button in slipper.] My 
collar button. Well ! Wouldn't that make you mad? [Com- 
pletes toilet. Puts on smoking^ jacket, takes papers from 
desk c, and sits in easy chair l. c] I told the hotel people 
they might rent this room, but I'm glad they haven't done 
it. I'd hate to be compelled to move. Well, it feels good to 
be back again. [Sits and reads.] 

Lucille. [Opening d. l.] Oh, you're there at last! 
[Throwing a shoe over screen A., which hits Elmer. lie 
jumps up.] I'm very angry at you. [Throws another 
shoe.] Now, set the buttons over on those shoes at once. 
They're so loose I can almost jump out of them. When 
you've done that, come and help me with my hair. [Exit 

D. L.] 

Elmer. By jingo! A woman! Well, here's a pretty 
situation for a gay grass widower ! [Picks up shoes.] What 
a dear little foot she has ! I wonder what she looks like ? 



SUITE B 7 

[Pcrps over screen a., then goes hurriedly behind screen B., 
a shoe in each hand. Lucille enters d. l. in evening dress 
skirt and dressing sacque. She has curling tongs, stand 
mirror and lighted heater. He rubbers at her over screen B. | 

Lucille. Brrr — there's no steam on in there and it's 
colder than Greenland's icy mountains, so I'll finish dress- 
big here. [Sits at desk c. and proceeds with toilet.'] Now, 
hurry with those shoes, Lizette. I have a good mind to 
scold you, anyway. You ought to have heen here half an 
hour before I arrived. [Walking around with hair on curl- 
ing irons.] I stopped to have my nails brushed so you had 
plenty of time to have had my toilet ready without this 
rush. Are you ever going to give me those shoes, Lizette ? 
[Elmer holds shoes over screen.] Why don't you answer 
me? What makes you so dumb today? Where are you? 
Lizette ! [Impatiently.] 

Elmer. [In falsetto.] Ici, madam. 

Lucille. [,4st<ie.] Her voice sounds as if she had 
been drinking. [Aloud, seeing] shoes.] Bring them here. 
[Sits in easy chair l. c. Elmer throws shoes. Aside.] 
She has been drinking. When she came to me, Mrs. Skaton 
warned me that Lizette drank once in a while. Oh, well — 
she's a splendid maid every other way, so I'll pretend not to 
notice it. [Aloud, picking up shoes.] Now, Lizette, see if 
you can turn on the steam in the next room; I tried it in 
vain. [Sits on floor, facing down stage, and puts on shoes. 
Elmer exit d. l.] Lizette, bring me the shoe-horn. I 
wonder where Lizette got her little jag? Well, I do hope 
she won't get worse while I'm gone, for there is to be a 
dance after the musicale and I'll be tired enough when 
I get back here. I'll need somebody to undress me. [El- 
mer re-enters and hands shoe-horn over her shoulder. 
Crosses to chiffonier, gets shoes — she turns — sees him — 
screams and jumps up with one shoe on and the other n> 



8 SUITE B 

her hand. Raising shoe to threaten him.'] Keep away" — 
don't touch me ! I'll scream for help. [Recognizes him.] 
What! You? [Throws shoe L.] 

Elmer. What — you? [Crosses l. c. to her with his 
shoes in his hand.] 

Lucille. How dare you invade my apartments, sir? 

Elmer. Pardon me, Lucille — but you seem to have in- 
vaded my apartments. 

Lucille. Quite unintentionally. You see, I wrote to en- 
gage a suite of rooms at this hotel. I received the reply 
that all the suites were occupied, but that I could have a 
single room and use the sitting room adjoining, which be- 
longed to the suite of a gentleman who was at present absent 
from the city. You are the gentleman, I suppose? 

Elmer. The same. I returned unexpectedly. I was 
called home in haste to sing the Toreador in Carmen in 
the place of Mario, who has a bad throat. You look as if 
you were enjoying life. 

Lucille. Oh tolerably — and so you are on the stage. 
[Sits l. c. Tries to hide foot without shoe.] 

Elmer. When we parted five years ago I went to 
Italy and studied for that purpose. But you seem to be in 
trouble. May I assist you till Lizette arrives ? I am still 
legally your husband, you know. 

Lucille. I'll let you put on my shoes — if you care to. 

Elmer. Delighted. [Puts on one of his shoes.] But 
what has brought you here? [Sees his shoe on her foot.] 
Oh, I beg your pardon. [Gets her own shoe and puts it 
on.] 

Lucille. I have run up to sing at a musicale in aid of 
something or other — one of Mrs. Naylor's pet charities. I 
dine there at seven. [After pause.] Well, haven't you any- 
thing to say to me? 

Elmer. Yes. Let's get divorced. 



SUITE B 9 

Lucille. Oh! Seen somebody else? 

Elmer. Perhaps. What do you care? 

Lucille. Nothing. 

Elmer. Your Uncle John's life-long friendship for my 
Uncle Bob prompted those two inveterate old bachelors to 
make two very absurd wills. 

Lucille. Yes. Neither one of us could inherit a cent un- 
less we married each other. It was a horrible plunge — but 
I took it. 

Elmer. Thanks. So did I. But, really, Lucille, it didn't 
strike me that it would be so horrible, for I was awfully 
fond of you and always had been ever since we were chil- 
dren and played together, but two hours after the ceremony 
you told me you cared nothing for me, and proposed that 
we should each go our own way. 

Lucille. And you got angry at that entirely rational 
proposal, left me without even kissing me good-bye, and 
this is our first meeting since. Funny, isn't it ? 

Elmer. Very. How pretty your foot is. 

Lucille. Don't flatter — chatter. Who is she. [Takes 
up curling-irons, .] 

Elmer. Who ? 

Lucille. The lady on whose account you want a 
divorce. Will you kindly curl this lock for me? I can't 
reach it. 

Elmer. I'll try. [Takes curling-iron — burns himself.] 

Lucille. You haven't told me who she is. 

Elmer. What do you care ? 

Lucille. Oh, nothing. Please be careful * you are burn- 
ing my ear. 

Elmer. I beg your pardon. [Drops tongs down her 
back. She screams, catches them out of her back. She 
tries their heat with her finger. Then hands them to him.] 
I am so sorry. 



10 SUITE B 

Lucille. You could curl the hair easier if you would 
light the heater and heat the irons. 

Elmer. [He tries the irons and finds they arc perfectly 
cold. Motions with lips.] D — m. 

Lucille. ['Sitting at desk again. He lights heater, 
heats iron.] Is she a blonde or brunette? 

Elmer. Who ? 

Lucille. You know. 

Elmer. Oh — aw — aw — sort of [looking at lock of hair 
he is about to curl] half and half. 

Lucille. Oh — medium. Do you like being on the 
stage ? 

Elmer. So, so. 

Lucille. Do you know, you really have improved very 
much in appearance. I wouldn't be surprised if you have 
a great many lady admirers. 

Elmer. Oh, a few. 

Lucille. What color are her eyes? 

Elmer. Whose? Oh — you mean . 

Lucille. Exactly. [Turns in chair, looks squarely up 
at him.] 

Elmer. [Looks closely in her eyes.] Blue. [Crosses 
to R.] 

Lucille. The same color as mine. [Looking in glass. 
Aside, as she crosses to d. l.] Oh, I'd like to scratch them 
out of her head. [Looks at Elmer.] He's grown positively 
handsome. [Exit D. L.] 

Elmer. I wonder what's got into her? [Knock 
heard. He goes to c. d. Jimpsy hands him telegram, let- 
ters and a large bouquet. Calls.] There's a telegram for 
you. 

Lucille. [Off l.] Open and read it, please. 

Elmer^ [Reading telegram.] "Missed train. Arrive at 
8:30 tomorrow morning. Will go to hotel. Lizette." 



SUITE B 11 

[Elmer looks at card with bouquet. Dumps it into vase. 
Opens letters, glances at them and throws I hen/ down on 
desk c. while talking.'] You will have to get along withoui 
a maid for tonight. 

Lucille. [Off l.] I'm getting along pretty well with 
your assistance. 

Elmer. Yes — but I won't be here when you come home, 
you know. 

Lucille. [Enters d. l. completely dressed for dinner, 
with wrap.] Would you please tell me: Am 1 together at 
the back? 

Elmer. You are all right. 

Lucille. As if you knew anything about dresses. I 
don't feel sure of my back now. [Crosses to chiffonier — ■ 
stretches and tiptoes to see back in glass.] There, I knew 
it. Will you please straighten that piece of lace? 

Elmer. Simply delighted. How pretty your neck is. 

Lucille. You mustn't look at my neck. 

Elmer. I'm your husband. 

Lucille. Yes, but we're going to be divorced. 

Elmer. That's true. But we are not divorced yet. 
[Puts her wrap on. Tries to kiss her. She eludes him. \ 

Lucille. Now, sir, be good. Has she a plump neck ? 

Elmer. She ? Aw — Oh, yes — plump and white. 

Lucille. She ought to be ashamed of herself ! 

Elmer. For having a pretty neck ? 

Lucille. For trifling with a married man. [To c. d. 
angrily. Turns and holds out her hand.] Good-bye. 1*11 
apply for the divorce — for desertion. 

Elmer. [Takes her hand.] But you are deserting me. 

Lucille. I am compelled to. 

Elmer. By my conduct. [Still holding her hand.] 

Lucille. No — by my engagement for dinner. [II r 
kisses her hand. She exit.] 



12 SUITE B 

Elmer. Perversity, thy name is woman! [Gets shoes.] 
And this was on her dainty little foot ! I've a good mind 
to put it in a glass case and keep it to look at. But, pshaw ! 
What's the use ! She doesn't care for me — I'm a fool to 
go on loving her. [During this he puts on shoes.] How 
curious she was about my supposititious sweetheart. But 
then — she's a woman. Now, we men are never curious. 
[Takes off smoking jacket. Leaves jacket on lounge. Gets 
his coat, which is hanging just outside d. 2 e. Does not 
fully leave audience's view.] I wonder whether she's in love 
with another man ? By jove ! I'll have to find that out if 
we meet again. [Puts on coat.] There must be some other 
man dangling after her. Otherwise, she wouldn't have con- 
sented to the divorce so easily. I'll find him — and when I 

do = [Puts a flower from bouquet in his coat.] 

Wonder whether I'll have any voice after that protracted 
session last night? [Sings "I Love You — Will Forever/' 
by Fannie Myers Langlois. At end, takes his hat and exit 
d. c] 

[Lucille opens c. d. as if she had been waiting in hiding 
for his departure. Watches some one going down the hall 
as she enters backwards, and slowly, with her hand on the 
knob, closes door.] 

Lucille. He's gone. I don't care. I won't go to their 
old dinner party. I'm bilious. I have a sick headache. And 
as for singing at a musicale — I can't do it. I've got a cold 
— I've got the grip — every old thing is the matter with me. 
How can a person sing for charity with a voice like this? 
[Tries voice.] I'll send a note and say that my physician 
positively forbids my going out. [Pushes bell button. Sits 
at desk and writes note.] "My dear Mrs. Naylor : So sorry 
to disappoint you and be disappointed, but I have arrived 
here suffering so severely that my physician orders met to 
remain indoors for the present. Faithfully yours, Lucille 



SUITE i; 13 

Thaxton." [Directs envelope. Knock heard. Lucille 
opens door and gives note and money.'] Call a messenger 
and send this at once. [Closes door, comes down to desk.] 
How remarkably handsome he lias grown. | Beginning in a 
pensive mood, sings "At Dusk" song by Fannie Myers 
Langlois. At close, sees bouquet. Picks it up angrily.] From 
her. | About to tear it to pieces. Stops. Laughs. Puts 
it back in vase.] No, let her have him. What do I care? 
[Picks up letters he opened and threw on desk.] Three of 
them. Oh, they must be crazy over him. [Takes them to 
lounge, sits and reads. Elmer enters c. d. unobserved and 
watches her. She laughs as she reads, but the laugh dies 
air ay. Tearfully.] And she dares to write this way to an- 
other woman's husband. [Angrily.] But what do I care? 
We're going to be divorced — and then he can have her if he 
wants her. [Tears letters and scatters pieces in jealous 
rage. Buries Iter head in pillows.] 

Elmer. [Sits on edge of lounge. Quietly.] Back al- 
ready ? 

Lucille. [Starts in surprise. Pause.] Not going. 
[Buries her head again.] 

Elmer. What's the matter? Are you ill? 

Lucille. Nn — n — no. [Very uncertainly. Sees flower 
in his coat.] I just hate her. [Angrily snatches flower 
from his coat and throws it down. She laughs, picks up the 
flower and straightens it out. He holds lapel for her to put 
it in his buttonhole.] No. [She slicks it into the bouquet. 
Sits at desk and writes on card.] Wring the bell, please. 

Elmer. [Ringing bell.] What are you going to do? 

[Knock c. d. Lucille puts card in bouquet, looking at 
Elmer.] 

Lucille. [To bellboy.] Send these to the Mercy Hos- 
pital. 

Elmer. Why didn't you go to the party ? 



14 SUITE B 

Lucille. Well — because. 

Elmer. Because what ? 

Lucille. Well — I had to have some evidence for the 
divorce suit — so I came back to look for it. [Looks at 
pieces of letter on floor.'] But I've destroyed what I found. 
Are you in a very great hurry for the divorce? Can you 
wait until I can get some more evidence ? 

Elmer. My dear Lucille. I'm in no hurry at all. I can 
wait a hundred years if you need that much time. 

Lucille. Are you not forgetting you sing tonight ? 

Elmer. I had forgotten all about it; I must be off. 
[Knock at c. D. He opens door, Jimpsy hands him a note.'] 
For me — from the stage manager. [Opens note.] Listen. 
[Beads.] "Mario has recovered and insists upon singing 
tonight." 

Lucille. Well? 

Elmer. I am not going to the theatre. Jimpsy, reg- 
ister "Mr. Elmer Thaxton and wife, Suite B." Tell the 
clerk my wife ran up to town to give me a little surprise. 

Jimpsy. Yes, sir. 

Elmer. [Taking off coat.] And, Jimpsy, any one calls, 
not at home, remember. 

Jimpsy. Yes, sir. [Exit c. d.] 

[Lucille holds smoking jacket; Elmer puts it on. She 
suddenly stops coat when half way on, so his arms are pin- 
ioned.] 

Lucille. What is her name? 

Elmer. Whose ?— Aw— Oh— Lucille. 



Curtain. 



A Woman's Honor 

A Drama in Four Acts 

By JOHN A. FRASER 
Atttnor of "A Noble Outcast," "Santiago," "Modern Anam^,* etc 

Price, 25 cents 

Seven male, three female characters. Plays two hours. For 
Intense dramatic action, thrilling climaxes, uproarious comedy and 
* story of absorbing romantic interest, actors, either professional 
or amateur, will find few plays to equal "A Woman's Honor." 
With careful rehearsals they will find a sure hit is made every time 
without difficulty. 

CAST OF CHARACTERS 

General Mark Lester. A Hero of the Cuban Ten Years' War. .Lead 

Pedro Mendez. His half brother Heavy 

Dr. Garcia. Surgeon of the Madaline Straight 

Gilbert Hall, M. D. In love with Olive Juvenile 

Robert Glenn. A Wall Street Banker Old man 

Gregory Grimes. Lester's Private Secretary Eccentric Comedy 

Ebenezer. Glenn's Butler Negro Comedy 

Olive f Glenn's 1 Juvenile lead 

Sally ( Daughters f Soubrette 

Maria. Wife of Pedro Character 

NOTE. — Glenn and Garcia may double. 

Act 1. The Glenn Mansion, New York City. 

Act 2. The Isle of Santa Cruz, off San Domingo. One month 
later. 

Acts 3 and 4. Lester's home at Santa Cruz. Five months later. 
Between Acts 3 and 4 one day elapses. 

SYNOPSIS OF INCIDENTS 

Act 1. Handsome drawingroom at Glenn's. Sally and Ebenezer. 
**I isn't imputtinent, no, no. Missy." "Papa can't bear Gregory 
Crimes, but I'm going to marry him, if I feel like it." "Going 
away?" "I was dizzy for a moment, that was all." "This mar- 
riage is absolutely necessary to prevent my disgrace." "General 
Lester, you are a noble man and I will repay my father's debt of 
honor." "Robert Glenn is dead." 

Act 2. Isle of Santa Cruz. "Mark brings his American bride to 
his home today." "You and I and our child will be no better than 
servants." "How can I help but be happy with one so good and 
kind?" "It means that I am another man's wife." "Dat's mine; 
don't you go to readin' my lub lettahs in public." 

Act 3. Sitting-room in Lester's house. "What has happened?'' 
"Is my husband safe?" "Break away, give your little brother a 
chance." "To tell the truth, my heart is breaking." "Debt of 
duty! and I was fool enough to think she loved me." 

Act 4. "The illness of the general has an ugly look." "The 
gossips have it she would rejoice to be rid of her husband." "The 
Gilbert Hall I loved is dead." "Standing on the brink of the grave, 
my vision is clearer." "Forgive, and I will devote my life to 
making you happy in order to repay the debt I owe you — a debt ot 
honor." 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

^WCAGO. ILLINOIS. 



Diamonds and Hearts 

A Comedy Drama in Three Acts 

By EFFIE W. MERRIMAN 

Price, 25 cents 

This play has become one of the most popular in America. The 
good plot, the strong "heart" interest, and the abundant comedy 
all combine to make a most excellent drama. "Bub" Barnes is a 
fine character of the Josh Whitcomb type, and his sister is a worthy 
companion "bit." Sammy is an excruciatingly funny little darkey. 
The other characters are good. Fine opportunity for introducing 
specialties. The play has so many good points that it never fails 
to be a success. 

CAST OF CHARACTERS 

BERNICE HALSTEAD, a young lady of eighteen, with an affec- 
tion of the heart, a love for fun and hatred of arithmetic 

AMY HALSTEAD, her sister, two years younger, fond of frolic. 

INEZ GRAY, a young lady visitor, willing to share in the fun.... 

MRS. HALSTEAD, a widow, and stepmother of the Halstead girls 

HANNAH MARY BARNES, or "Sis," a maiden lady who keeps 
house for her brother 

DWIGHT BRADLEY, a fortune hunter and Mrs. Halstead's son 
by a former marriage 

DR. BURTON, a young physician 

SAMMY, the darkey bell-boy in the Halstead house 

ABRAHAM BARNES, or "Bub," a yankee farmer, still unmar- 
ried at forty — a diamond in the rough 

.ATTORNEY; SHERIFF 

Time of playing, two hours. 
Two interior scenes. Modern costumes. 

SYNOPSIS OF INCIDENTS 

Act. 1. Parlor of the Halstead home. The young doctor. Th© 
three girls plot to make his acquaintance. An affection of the heart. 
"Easy to fool a young doctor," but not so easy after all. The step- 
mother and her son. The stolen diamonds. The missing will. 
Plot to win Bernice. "I would not marry Dwight Bradley for all 
the wealth the world contains." Driven from home. 

Act 2. Kitchen of the Barnes' farm house. Bub takes off his 
boots. The new school ma'am. "Supper's ready." "This is out 
nephew and he's a doctor." Recognition. A difficult problem in 
arithmetic. The doctor to the rescue. "I'm just, the happiest girl 
In the world." "I've come to pop the question, an' why don't 1 
do iV?" Brother and sister. "If it's a heifer, it's teh be mine." 
The sheriff. Arrested for stealing the diamonds. "Let me knocK 
yer durned head off." The jewels found in Bernice's trunk. 

Act 3. Parlor of the Halstead home. "That was a lucky stroKe 
— hiding those diamonds in her trunk." The schemer's plot miscar- 
ries. Abe and Sammy join hands. The lawyer. "Bully for her." 
Bradley tries to escape. "No, ye don't!" Arrested. "It means, 
dear, that you are to be persecuted no more." Wedding presents, 
and a war dance around them. "It is no trick at all to fool a 
yoiftog doctor." 

Address Orders to 

THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



One copy del. to Cat. Div. 
♦MN i isi2 



Hageman's Make-Up Book 

By MAURICE HAGEMAN 

Price, 25 cents 

The importance of an effective make-up is becoming inure appar- 
ent to the professional actor every year, but hitherto there has been 
no book on the subject describing the modern methods and at the 
same time covering all branches of the art. This want has novr 
been filled. Mr. Hageman has had an experience of twenty years 
as actor and stage-manager, and his well-known literary ability has 
enabled him to put the knowledge so gained into shape to be of 
use to others. The book is an encyclopedia of the art of making up. 
Every branch of the subject is exhaustively treated, and few ques- 
tions can be asked by professional or amateur that cannot be an- 
swered by this admirable hand-book. It is not only the best make- 
up book ever published, but it is not likely to be superseded by 
any other. It is absolutely indispensable to every ambitious actor. 

CONTENTS 

Chapter I. General Remarks. 

Chapter II. Grease-Paints, their origin, components and use. 

Chapter III. The Make-up Box. Grease-Paints, Mirrors, Faca 
Powder and Puff, Exora Cream, Rouge, Liquid Color, Grenadine, 
Blue for the Eyelids, Brilliantine for the Hair, Nose Putty, Wig 
Paste, Mascaro, Crape Hair, Spirit Gum, Scissors, Artists' Stomps, 
Cold Cream, Cocoa Butter, Recipes for Cold Cream. 

Chapter IV. Preliminaries before Making up; the Straight Make- 
up and how to remove it. 

Chapter V. Remarks to Ladies. Liquid Creams, Rouge, Lips, 
Eyebrows, Eyelashes, Character Roles, Jewelry, Removing Make-up. 

Chapter VI. Juveniles. Straight Juvenile Make-up, Society 
Men, Young Men in 111 Health, with Red Wigs, Rococo Make-up, 
Hands, Wrists, Cheeks, etc. 

Chapter VII. Adults, Middle Aged and Old Men. Ordinary Type 
of Manhood, Lining Colors, Wrinkles, Rouge, Sickly and Healthy 
Old Age, Ruddy Complexions. 

Chapter VIII. Comedy and Character Make-ups. Comedy Ef- 
fects, Wigs, Beards, Eyebrows, Noses, Lips, Pallor of Death. 

Chapter IX. The Human Features. The Mouth and Lips, the 
Eyes and Eyelids, the Nose, the Chin, the Ear, the Teeth. 

Chapter X. Other Exposed Parts of the Human Anatomy. 

Chapter XI. Wigs, Beards, Moustaches, and Eyebrows. Choosing 
a Wig, Powdering the Hair, Dimensions for Wigs, Wig Bands, Bald 
Wigs, Ladies' Wigs, Beards on Wire, on Gauze, Crape Hair, Wool, 
Beards for Tramps, Moustaches, Eyebrows. 

Chapter XII. Distinctive and Traditional Characteristics. North 
American Indians, New England Farmers, Hoosiers, Southerners, 
Politicians, Cowboys, Minors, Quakers, Tramps, Creoles, Mulattoes, 
Quadroons, Octoroons, Negroes, Soldiers during War, Soldiers dur- 
ing Peace, Scouts, Pathfinders, Puritans, Early Dutch Settlers. 
Englishmen, Scotchmen, Irishmen, Frenchmen, Italians, Spaniards, 
Portuguese, South Americans, Scandinavians, Germans, Hollanders. 
Hungarians, Gipsies, Russians, Turks, Arabs, Moors, Caffirs, Abys- 
sinians, Hindoos, Malays, Chinese, Japanese, Clowns and Statuary, 
Hebrews, Drunkards, Lunatics, Idiots, Misers, Rogues. 

Address Orders to 
THE DRAMATIC PUBLISHING COMPANY 

CHICAGO. ILLINOIS 



LIBRARY OF CONGRESS 



PUCiS 




016 103 692 4 



And Entertainment Books. 

'Jtf EXNG the largest theatrical booksellers in 
W the United States, we keep in stock the most 
complete and best assorted lines of plays and en- 
tertainment books to be found anywhere. 

We can supply any play or book pub- 
lished. We have issued a catalogue of the best 
plays and entertainment books published in 
America and England. It contains a full 
description of each play, giving number of char- 
acters, time of playing, scenery, costumes, etc. 
This catalogue will be sent free on application. 

The plays described are suitable for ama- 
teurs and professionals, and nearly all of them 
may be played free of royalty. Persons inter- 
ested in dramatic books should examine our cat- 
alogue before ordering elsewhere. 

We also carry a full line of grease paints, 
face powders, hair goods, and other "make-up" 
materials. 

The Dramatic Publishing Company 
CHICAGO 



